press information the salzburg festival centenary · salzburg festival 18 july – 30 august 2020 6...

SALZBURG FESTIVAL 18 July – 30 August 2020

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Press Information

The Salzburg Festival Centenary

“Dreaming of a Fairies’ Temple”

Artistic Interventions Regarding Festival Theatres Never Built

Mönchsberg

Schlosspark Hellbrunn Kapuzinerberg Mirabellgarten

Mid-May to End of October 2020

Friday, 10 January 2020, 10:30 am SalzburgKulisse

Speakers: Helga Rabl-Stadler, President of the Salzburg Festival Margarethe Lasinger, Dramaturge at the Salzburg Festival Norbert Mayr, Project Leader Katharina Blaas-Pratscher, Jury Chairwoman of the Competition


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Dreaming of a Fairies‘ Temple Artistic Interventions Regarding Festival Theatres Never Built

Mönchsberg, Schlosspark Hellbrunn, Kapuzinerberg, Mirabellgarten

From Mid-May to the End of October 2020

The numerous site suggestions and plans for festival theatres discussed during the past 130

years demonstrate the major importance which has always been accorded to the building of

such a festival theatre.

On the occasion of the Salzburg Festival’s centenary, four of these architectural projects which

were never realized will be made visible as concrete experiences in the public space through

interventions by artists and architects:

· Esther Stocker (Vienna), Three-Part Wrinkle Sculpture for Mönchsberg

Intervention regarding the Mozart-Festspielhaus project on Mönchsberg,1890 (Atelier Fellner

& Helmer, Vienna)

· Maria Flöckner & Hermann Schnöll, Norbert Mayr (Salzburg)

Intervention in Hellbrunn regarding the Festspielhaus project in the Schlosspark, 1922

(Architect Hans Poelzig, Berlin)

· Werner Feiersinger (Vienna), Panel, 2019–20

Intervention regarding the Festspielhaus project on Kapuzinerberg,1942/43 (Architect Otto

Reitter, Salzburg)

· Isa Rosenberger (Vienna), Portal Frame for Mirabellgarten

Intervention regarding the Festspielhaus project in Mirabellgarten,1950/51 (Architect Clemens

Holzmeister, Ankara)

The historical Festspielhaus projects reflect both the visions of individual persons and the

differing expectations of their times and societies. The four festival theatre designs selected

for this project – beginning with that of 1890 – refer to outstanding locations on the city’s

mountains (Mönchsberg and Kapuzinerberg) or elevations (Hellbrunn, Rosenhügel in

Mirabellgarten), but treat these contexts in very different manners.

The Mozart-Festspielhaus on the green plateau of the inner-city Mönchsberg was planned in

1890 with the notion of replicating the advantages of the Richard-Wagner-Festspielhaus in

Bayreuth while avoiding its disadvantages.

As early as 1917, the impresario Max Reinhardt waxed enthusiastic about the Hellbrunn palace

park as a construction site “far from the daily bustle of the city” marked by “natural and artistic

beauty”. There, Hans Poelzig planned a Festspielhaus between 1920 and 1922.

In the early 1940s, the Nazi regime wanted to inscribe its claim to totalitarian power upon the

cityscape, with a freestanding Festspielhaus as part of a comprehensive architectural plan to

build up Kapuzinerberg.


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In 1950 Clemens Holzmeister chose the Rosenhügel in the Neustadt district for a

Festspielhaus project which was to integrate the Mirabellgarten and the view of the Salzburg

castle by including a glass wall in his stage plans.

Four artistic projects – three of which were selected in a competition between invited parties –

react to these four festival theatre designs with temporary interventions within the public space.

They will be freely accessible from mid-May 2020 to the end of October 2020.

Background

On the occasion of the Salzburg Festival’s 90-year anniversary, a small intervention was

staged in the area of the 1922 Festspielhaus project in Hellbrunn: together with stage designer

Regina Öschlberger, the curator of the exhibition on the Poelzig-Festspielhaus at the

Monatsschlössel at the time, Norbert Mayr, implemented a discreet “footprint” on the lawn of

the park.

Thanks to his research into architectural history, the exact construction site for the Mozart-

Festspielhaus on Mönchsberg (1890) could be determined. Early in 2019, the Salzburg

Festival invited Norbert Mayr to implement the anniversary project Der Traum von einem

Feentempel (Dreaming of a Fairies’ Temple) exploring festival theatres never built within the

public space, as part of the Festival’s centenary.

Building on the experiences of 2010 in Hellbrunn, the idea was to develop a new intervention

together with the architectural team of Maria Flöckner and Herrmann Schnöll (Salzburg),

making the 1922 Festspielhaus discernible all the way to the rhinoceros enclosure at the zoo.

A Competition for Mönchsberg, Kapuzinerberg, Mirabellgarten

In order to include as broad a spectrum of artistic approaches as possible, three curators and

experts on art, architecture and landscape architecture/urbanism (Hildegard Fraueneder,

Roman Höllbacher, Michael Obrist) nominated nine participants resp. teams who were invited

to take part in a competition.

Mönchsberg

Manuel Gorkiewicz and Katharina Heistinger (Vienna)

Stijn Nagels (Salzburg)

Esther Stocker (Vienna)

Kapuzinerberg

Karl Peyrer-Heimstätt and Flora Peyrer-Heimstätt (Vienna)

Werner Feiersinger (Vienna)

Michael Meier and Christoph Franz (Zurich)

Mirabellgarten

Maruša Sagadin (Vienna)

Sonia Leimer and Marina Faust (Vienna)

Isa Rosenberger (Vienna)


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In August the nominated artists received comprehensive materials on the three Festspielhaus

projects (plans, sources on history and architectural history, etc.) and their exact locations. In

addition, the building footprints and stage areas were marked within the area in question

(architect: Stefan Linsinger).

The competition held by the Salzburg Festival Fund by invitation began with a survey of the

sites with a colloquium and question-and-answer session on 29 August 2019.

The artistic works were to be developed especially for the places in question and refer both to

the place (Festspielhaus project and current state) and content (political and social context);

their placements were to reveal a logical concept and their aesthetic quality convince the jury.

On 22 October 2019 the artistic designs were presented to the jury.

Jury

Katharina Blaas-Pratscher, Curator for Art in Public Spaces and Chairwoman of the Jury

Helga Rabl-Stadler, President of the Salzburg Festival

Martin Hochleitner, Director of the Salzburg Museum

Oliver Gachowetz, Landscape Architect

Norbert Mayr, Architectural Historian, Project Leader

Since the construction sites of the festival theatres on Mönchsberg and at Kapuzinerberg are

no longer entirely publicly owned today, not only the public authorities in question, but also the

current owners enriched the discourse as external consultants; for example, the Hotel Schloss

Mönchstein permitted the work of art to the erected temporarily on its grounds.

With the exception of the Rosenhügel location, where the bomb-damaged Kurhaus

(sanatorium) stood, the festival theatre plans selected for this project had appropriated

exposed natural spaces or cultural landscapes. In developing their works, participants of the

competition had to deal with several cultural landscapes under nature or landscape

preservations orders, and also had to evaluate the festival theatre projects in their respective

political and social contexts.

After the presentation of the designs, the jury discussed them in detail, emphasizing the intense

study of the complex theme as well as the high artistic quality of the projects. The jury also

agreed that each of the designs elaborated could be realized at the three locations in question.

During the subsequent vote, three concepts were chosen unanimously and recommended for

implementation.


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Esther Stocker (Vienna), Three-Part Wrinkle Sculpture for Mönchsberg

Intervention regarding the Mozart-Festspielhaus project on Mönchsberg,1890 (Atelier Fellner

& Helmer, Vienna)

“With her three-part sculpture, Esther Stocker stages the space, shifts perception and makes

it a new experience for visitors. The ‘crumpled design ideas‘ speak about order and disorder,

systems and the destruction of systems. In addition, the sculptures use text from the year 1890,

thereby creating a direct connection with the planned festival theatre.” (Jury statement)

Werner Feiersinger (Vienna), Panel, 2019–20

Intervention regarding the Festspielhaus project on Kapuzinerberg,1942/43 (Architect Otto

Reitter, Salzburg)

“Inspired by the plasticity of the model at the Salzburg Museum, Werner Feiersinger transforms

it into a partial object of his remarkable artistic concept. In an aesthetic setting typical for this

artist, he creates a work of art which points to the planned historical design through an

apparently trivializing, playful copy of the model, irritating the viewer. By positioning his work

near a popular viewpoint and making it available to visitors, the object becomes a place for

communication.” (Jury statement)

Isa Rosenberger (Vienna), Portal Frame for Mirabellgarten

Intervention regarding the Festspielhaus project at Mirabellgarten,1950/51 (Architect Clemens

Holzmeister, Ankara)

“With her design, Isa Rosenberger adds a very reduced signal to the highly designed

Mirabellgarten, creating a major counterpoint in these surroundings. The height of the object,

which visualizes Holzmeister’s design, is reminiscent of the historical concept to be

implemented here and alters the viewer’s notion of the city and park as well as the perception

of the space. With the planned object, Rosenberger creates a serviceable stage, making new

viewpoints and perspectives a concrete experience for the visitors.” (Jury statement)

In its meeting on 16 December 2019, the Arts Council of the City of Salzburg supported the

“temporary erection of the artworks in the suggested places” – Mönchsberg, Kapuzinerberg

and Mirabellgarten – and expressed its appreciation for the quality of the works.

Target Audience & Education

The project is aimed equally at the local population, (international) Festival visitors and guests

from all over the world.

There will be information available onsite about the temporary interventions, and it is hoped

that condensed information on the four potential festival theatre sites may remain onsite during


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the coming years in the form of a stele. The information offered onsite will be complemented

by a more in-depth treatment on the Salzburg Festival website.

The Rosenhügel (resp. Mirabellgarten) is a central, easily accessible place for starting a

walking tour of the inner city which would also include the Kapuzinerberg and Mönchsberg.

All marketing activities will be embedded within the centenary activities of the 2020 Festival.

There will be a map indicating the places, which can then be explored individually. Guided

tours will be offered periodically.

During the special guided tour for the press in mid-May, there will be an opportunity to visit the

sites in the presence of the artists.


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Esther Stocker

Three-Part Wrinkle Sculpture for Mönchsberg

An intervention regarding the Mozart-Festspielhaus project on Mönchsberg, 1890 (Atelier

Fellner & Helmer, Vienna)

This design presents one of three parts of Esther Stocker’s “Three-Part Wrinkle Sculpture”: using selected pages of the brochure published by the Action Committee for the Mozart-Festspielhaus in Salzburg of 1890, magnified multiple times, she shows how the project failed. The “crumpled ideas for designs” - arranged in today’s “natural environment” as a “stage” – deal with order and disorder, systems and the destruction of systems . © Esther Stocker

The artwork for the festival theatre location on Mönchsberg is a three-part sculpture showing

wrinkled resp. crumpled sheets. These sheets quote original excerpts from the manifesto The

Mozart-Festspielhaus in Salzburg, published in 1890 by the Action Committee, and show the

original design of the festival theatre planned by Fellner & Helmer in 1890. Today this

Festspielhaus is considered a first vision, which was to be followed by a series of additional

festival theatre plans.

The architects Fellner &

Helmer (Vienna) aligned the

Mozart-Festspielhaus project

on Mönchsberg, which was to

be far from the noise of the

city and the „bustle of profane

life“, with the tower of the

Franciscan Church resp. the

Castle Hohensalzburg.

© Salzburg Museum


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The work conveys in a very direct manner how great ideas are born – and how they are

discarded as well. The overall sculpture plays with the design and is closely interwoven with

the place. The natural surroundings are in direct contrast with the cultural notion, thereby

offering a “stage” for the intervention.

The three sculptures stand for the description of a cultural process of the past, a process which,

however, was not completed. They can also be interpreted as a visualization of the

manifestation and discarding of ideas, and how their random resurfacing generates an echo.

For example, a quote from the manifesto of the Action Committee for the Mozart-

Festspielhaus, which also calls the building a “temple of art”, reads: “It should be a magnet for

art lovers from the entire educated world, and its design should be a first-rate specialty. Its

meaning shall be as important as the name Mozart is international.”

People’s interest for the idea of the festival theatre on Mönchsberg is to be aroused in passing.

An abandoned idea becomes an object of art, and the three-part sculpture transforms the

vision, bringing it into the centenary year of 2020.

The Mozart-Festspielhaus project on Mönchsberg in 1890 (Atelier Fellner & Helmer, Vienna) for 1500 persons was to be located on the meadow between today’s Museum der Moderne and today’s Schlosshotel Mönchstein. (The entire stage area is cross-hatched in red.) © Salzburg Festival/Linsinger ZT


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Maria Flöckner & Hermann Schnöll, Norbert Mayr

An intervention regarding the Festspielhaus project in Hellbrunn’s Schlosspark

(Architect Hans Poelzig, Berlin, 1922)

Playing with various set pieces of

construction, the intervention

makes the dimension of the

Poelzig project, which extends to

the neighbouring zoo, noticeable.

A 24-metre pile of boards, the

imprint of the iron curtain, invites

visitors to rest under the row of

trees.

© Maria Flöckner and Hermann

Schnöll, Norbert Mayr

As early as 1917, the theatre impresario and Festival co-founder Max Reinhardt dreamed of a

place “beyond the daily grind of the city”, but easily reachable by tram, in his Manifesto on the

Erection of a Festival Theatre in Hellbrunn.

Starting in 1920, the German architect Hans Poelzig created designs for a sweeping festival

theatre ensemble consisting of two houses seating 800 resp. 2000 persons. With terraces

accessible from the outside, Poelzig finally turned the design for the larger theatre into a rigid,

mighty building dominated by the conical pyramid of the auditorium and with a generally more

objective air. The cornerstone for this building was ceremoniously laid in 1922.

The architects’ team of Maria Flöckner and Hermann Schnöll joins Norbert Mayr in creating an

intervention which toys with set pieces of construction, emphasizing the dimensions of the

Poelzig project, which was to extend over 160 metres. Inside the Hellbrunn park, the space

will be staked and can be crossed on a marked axis. It will also be indicated in the neighbouring

zoo. So-called “ushers” alongside the axis offer orientation, and individual areas, such as the

stage or auditorium, will be conjured up before the visitor’s inner eye.


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The cornerstone was laid in 1922 for architect Hans Poelzig‘s (Berlin) final, objectified Festspielhaus project

seating 3000 persons. The conical pyramid of the auditorium dominates the striking design.

© Architecture Museum of Berlin’s Technical University, held by the University Library

From the park lane, the building’s axis leads to the stage opening, where it crosses with the

iron curtain. Its imprint corresponds with a massive pile of boards which is about 40 cm high

and 24 metres long. This pile, located under a free-standing row of trees at the end of the

park’s meadow, invites visitors to linger.

Visitors can take elements framing this “footprint” with them as souvenirs. On special

occasions, selected gaps will be closed by replacing the survey poles, which measure about 1

m in height and are white-washed. Approximately 210 “takeaways” will be printed with

fragments of the historical context of the projects, both texts and images, and one single letter:

the letters from all the poles result in a project-specific quotation. In his speech before the

Festival Theatre Association in Salzburg, Poelzig emphasized: “Whoever enters this Festival

Theatre square must have time, he must forget all haste, and the design of the compound must

force him to acquiesce to this forgetting and delving into seeing and listening alone, with all

imaginable force.”

Starting in 1920, the German architect Hans Poelzig (Berlin) created designs for a sweeping ensemble of festival theatres, most of them located in what is today the southern part of the zoo. Poelzig‘s final project (1922) measuring 160 m in length would have ranged from the rhinoceros enclosure until far into the southern territory of the Schloßpark. (The entire stage area is marked in red cross-hatching). © Salzburg Festival/Linsinger ZT


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Werner Feiersinger

Panel, 2019–20

An intervention regarding the Festspielhaus project on Kapuzinerberg,1942/43 (Architect Otto

Reitter, Salzburg)

Werner Feiersinger takes Reitter’s plaster model of the 1942 Festspielhaus as the point of departure for his impressive, yet also highly reduced intervention “Panel, 2019-20”. The white-coated cast is placed as if on stage, presented in isolation near the edge of a huge white table within a grove of beech trees on Kapuzinerberg. Otto Reitter’s intended gesture of demonstrating power through a monumental, overwhelming building is here turned on its head. © Werner Feiersinger

The point of departure for the intervention is the plaster model of a festival theatre created by

Otto Reitter and held today by the Salzburg Museum, which shows the penultimate state of

the project in 1942. That year, Adolf Hitler had decided upon viewing the projected “Gauanlage”

complex on Salzburg’s Kapuzinerberg that a new placement for the Festspielhaus would have

to be chosen. Thus, it was to find its place across from the “Gauhaus” designed by architect

Otto Strohmayr, at the south-eastern edge of the massive building complex. Otto Reitter

aligned the building’s axis towards the Castle Hohensalzburg, heightening the presence of the

Nazi dictatorship within the cityscape.

The artistic intervention by Werner Feiersinger on a small clearing within the beech grove on

Kapuzinerberg is memorable, yet extremely reduced at the same time. A model based on the

historical 1942 plaster cast is slightly enlarged, cast in bronze and coated in white and placed

upon a panel of white-lacquered sheet steel measuring approximately 2 x 6 metres which is

elevated from the ground. This creates a stage-like situation.


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After Adolf Hitler’s intervention, architect Otto Reitter aligned the axis of the monumental Festspielhaus, which was to measure approximately 110 metres in length, towards the Castle Hohensalzburg, making it the free-standing cornerstone of the “Gauanlage” complex including the Gauhalle, Gauhaus and Stadium (some variations also included an Adolf Hitler School). Together with the Wehrmacht’s constructions on Mönchsberg – a unique strategical and physical omnipresence within the “Third Reich” – this constellation was to dominate the centre of Salzburg inescapably. © Salzburg Museum

The museum-like “exhibition piece” is transported into nature, proportions are shifted and the

beech grove offers a maximum contrast to the artificial and minimalist object.

This entails a reversal: in relation to the space of the panel, the Festspielhaus model is very

small. This reverses the intended monumental concept of Otto Reitter, who meant to embed

an oversized building into the Kapuzinerberg landscape as a gesture demonstrating power.

Positioned as a miniature at one edge of the large panel, the cast of the Festspielhaus model

thus testifies to the megalomania of the Nazi regime and demonstrates the current topicality

of these issues.

The intervention is intended as a surprise for the visitors, arousing curiosity and a willingness

to engage with the history of the place. The object enables various approaches and allows for

diverse appropriations and interpretations. The viewer invariably relates to it, entering into this

artificial situation.

The construction site would have been within the grounds of the villa at Kapuzinerberg 8. A Festspielhaus during the Nazi dictatorship in Salzburg would have served as a place of “purest German art” for the “psychological armament of the people” and the depiction of the Nazi state’s power, and would have been a “central propaganda instrument of racist ideology […] within the functional context of an ideology leading to the holocaust” (Winfried Nerdinger). (The entire stage area is cross-hatched in red.) © Salzburg Festival/ Linsinger ZT


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Isa Rosenberger

Portal Frame for Mirabellgarten

An intervention regarding the Festspielhaus project in Mirabellgarten, 1950/51 (Architect

Clemens Holzmeister, Ankara)

With the intervention „Portal Frame for Mirabellgarten“, Isa Rosenberger recurs to Holzmeister’s considerations regarding the unity of stage and auditorium. The three-part, gold-varnished portal frame presents an abstraction of the backstage portals: the view over Mirabellgarten and the Castle Hohensalzburg is “framed” and the city itself becomes an (open air) stage. © Isa Rosenberger

The design for an artistic intervention on Rosenhügel inside Mirabellgarten recurs to Clemens

Holzmeister’s considerations on the unity of stage and auditorium and on overcoming the limits

between nature and architecture. The point of departure are the three large backstage portals

of Holzmeister’s design for the festival theatre in Mirabellgarten (1950):

If one wishes to have “an almost immeasurably large stage volume, one opens the three

backstage portals and enters a theatrical space as only the Medici in Florence had in the Boboli

Gardens!” This area, behind which the gardens stretch out, offers “nearly unlimited

possibilities. The Castle Hohensalzburg seems to hover above it all.“ (Joseph Gregor on

Clemens Holzmeister’s project)

The outlines of these three large backstage portals are abstracted and marked by a portal

frame inside Mirabellgarten, constructed of gold-varnished steel: the view of the Mirabellgarten

and Castle Hohensalzburg is thus framed – quoting Holzmeister’s design – and the city itself

becomes an (open air) stage. Visitors to the Mirabellgarten thus become protagonists of the

“world theatre” and the city becomes a “stage space”.


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Using the glass back wall of the stage, Clemens Holzmeister focused on the Castle Hohensalzburg in his project for the Musical Olympic Games (1950/51). Together with the lower wings, the dominant stage tower forms an “open air stage” extending the stage toward Mirabellgarten. © Joseph Gregor, Clemens Holzmeister, 1953, p. 42

The goal is to replicate the original dimensions of the large backstage portals by means of the

steel frame: about 7.5 m height (from the ground) and 19.5 m total breadth.

This “portal frame“ will also be combined with an “audio play” available for downloading on the

Salzburg Festival website as an audio file. The audio play (lasting 3 to 5 minutes) will begin

with the laying of the cornerstone for the Festspielhaus in Mirabellgarten, an event Holzmeister

called “tragicomic”. During the further course of the audio play, the three portals “speak” about

different viewpoints and perspectives on the past, present and future of the Festival and the

city as a “stage space” in a fictitious dialogue. The text of the audio play is based on original

quotes by Clemens Holzmeister and on interviews with experts on architectural history and

(contemporary) history of the city and the Festival.

Clemens Holzmeister’s Musical Olympic Games project of 1950/51 was set to extend – approx. 130 m in length – from Auerspergstraße to the levelled Rosenhügel; the eastern building wing was to keep a good 10 m distance to Schloß Mirabell. (The entire stage and open-air stage space is indicated by red cross-hatching.) © Salzburg Festival/Linsinger ZT


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Biographies of the Participating Artists

Esther Stocker

Born in Schlanders, South Tyrol, in 1974. Studied at the Academy of Fine Arts in Vienna, the

Accademia di Belle Arti di Brera in Milan and at the Art Center College of Design in California

between 1994 and 2000. Since 2000 she has been a freelance artist working in the fields of

painting, installations, sculpture and murals. Numerous international solo and group exhibitions

as well as permanent murals/installations. In 2020 Esther Stocker receives the Prix Aurelie

Nemours.

Maria Flöckner & Hermann Schnöll

Maria Flöckner studied in Vienna with Anton Schweighofer, Hermann Schnöll with Hans

Hollein. Their architectural and artistic work has received numerous awards, including the

Austrian Building Owners’ Prize and the Architecture Award of the State of Salzburg in 2000

and 2008. They were nominated twice for the European Mies-van-der-Rohe Prize and were

featured in the Architecture Biennial in Venice in 2008. In 2018 they won the international

competition for the expansion of the Mozarteum in Salzburg.

Norbert Mayr, HTBLA, studied art history. Architectural historian, urbanist, author

(architectural history and theory, urban development, landmark preservation). Managing

director of M2plus since 2012.

Werner Feiersinger

Born in Brixlegg in 1966. Studied sculpture at the Academy of Applied Arts in Vienna from

1984 to 1989 and at the Jan van Eyck Academie in Maastricht from 1991 to 1993. In 1999 he

was a guest lecturer at the École nationale supérieure des beaux-arts de Lyon, from 2002 to

2006 university lecturer at the TU Vienna and from 2006 to 2008 guest professor at the Vienna

University of Applied Arts. Numerous exhibitions and sculptures in the public space in the

Netherlands, Switzerland and Austria.

Isa Rosenberger

Born in 1969. Studied at the University of Applied Arts in Vienna and at the Jan van Eyck

Academie in Maastricht. Her artistic works in media such as video, photography and

installations explore the interface of art and politics (of commemoration). Since 1999 she has

taught at the TU Graz, the Academy of Fine Arts in Vienna and the TU Vienna, among others.

Numerous exhibitions, festival participations and awards, including the Otto Mauer Prize

(2008) and the Outstanding Artist Award for Video and Media Arts (2012).


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If you have further questions, please contact:

Norbert Mayr (Idea/Concept/Project Leader):

[email protected]

+43 699 12708526

Press Office of the Salzburg Festival

[email protected]

+43 662 8045351

Photo Credits:

For each location / artist, you will find three pictures illustrating the location (courtesy of Linsinger Vermessung), the historical project and the artistic intervention. The first image in each set is a “footprint orthophoto”: the civil engineering office Linsinger ZT GmbH, which specializes in surveying cultural sites, has overlayered the Festspielhaus projects with orthophotos (including contour lines). When printed at 100% on DIN A3 paper, all building floorplans appear at the scale of 1:1000.

Mönchsberg Floorplan orthophoto Mönchsberg © Salzburg Festival/Linsinger ZT Fellner Helmer Mönchsberg_1890 © Salzburg Museum Stocker Mönchsberg © Esther Stocker

Hellbrunn Floorplan orthophoto Hellbrunn © Salzburg Festival/Linsinger ZT Poelzig Hellbrunn_1922 © Architecture Museum of the Berlin Technical University, held by the University Library Flöckner Schnoell Mayr Hellbrunn © Maria Flöckner and Hermann Schnöll, Norbert Mayr

Kapuzinerberg Floorplan orthophoto Kapuzinerberg © Salzburg Festival/ Linsinger ZT Reitter Kapuzinerberg 1942 © Salzburg Museum Feiersinger Kapuzinerberg © Werner Feiersinger

Mirabellgarten Floorplan orthophoto Mirabellgarten © Salzburg Festival/Linsinger ZT Holzmeister Mirabellgarten 1950 © Joseph Gregor, Clemens Holzmeister, 1953, p. 42 Rosenberger Mirabellgarten © Isa Rosenberger

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